Every Brilliant Thing by Duncan Macmillan, with Jonny Donahoe Directed by Ellie Schwetye New Jewish Theatre March 16, 2023
Will Bonfiglio Photo by Jon Gitchoff New Jewish Theatre
Every Brilliant Thing is a popular show. The latest staging, from the New Jewish Theatre, is the third production of this show I’ve seen in St. Louis since it debuted here with another theatre company in 2018. I think it’s popularity stems from a few factors–its simple production values which don’t require a large budget, its relatable subject matter, and its ability to showcase a strong, personable central performer. While this current production, directed by Ellie Schwetye and starring the always excellent Will Bonfiglio, is certainly the most polished production I’ve seen from a technical standpoint, it still maintains that inherent simplicity, audience interaction, and focus on its lead character that makes it such a memorable–and, considering its sometimes heavy subject matter–an ultimately hopeful show.
The setup here in NJT’s versatile space at the J’s Wool Studio Theatre is simply but elegantly appointed, designed by Bess Moynihan with a flair for setting an approachable, warm and inviting initial mood–and this atmosphere helps to provide balance in the show’s darker moments. Moynihan’s lighting is also especially effective, as Bonfiglio, suitably outfitted by costume designer Michele Friedman Siler in jeans, a casual button-down shirt and comfy sneakers, tells the story as a version of himself, as is the norm for this play. There’s a soft rug and a raised platform on one end of the stage where there’s a chair, and old-fashioned record player, and a box of records, which play into the story that is well-punctuated by various songs in the moments that call for them. Also, dangling from the ceiling is a collection of notecards suspended by wires, featuring various “brilliant” things about life, whether they be objects, people, experiences, etc. The audience members are given notecards, as well, and called upon to read items from Bonfiglio’s list as he calls their numbers.
The story, told as if it happened to Bonfiglio himself, recounts his childhood growing up with a chronically depressed mother, and the list of brilliant things starts out as his way to try to cheer her up. Over the years, as he grows up, the list gets longer and takes on new meanings, as Bonfiglio tells of his relationship with both of his parents, as well as meeting a romantic partner in college, and his on-and-off writing of the list as he struggles to deal with his own emotions and reactions to his mother’s condition as well as relating to the world around him. Bonfiglio gently calls on various audience members to participate in his story, playing a school teacher/counselor, his dad, a college professor, and his love interest, among others. Bonfiglio handles this aspect of the role especially well, and at least two of the “guest performers” I saw were notable local actors, which suggests that at least in some cases, Bonfiglio was choosing people he already knew to some degree, although I don’t think this was the case with everyone he chose.
One of the most appealing aspects of this show is that it’s so easily tailored to the particular performer who stars, and with Bonfiglio, it works especially well. Director Schwetye, who has worked with Bonfiglio before with great success at NJT with Fully Committed in 2019, has paced this show ideally, allowing Bonfiglio’s warm, engaging and occasionally unpredictable personality to shine forth in moments of humor, sadness, reflection, and ultimately hope. Bonfiglio is especially adept as holding the audience’s attention, and encouraging participation while not seeming too pressuring. The arc of the story, while familiar to anyone who has seen other versions of this show, gains a degree of immediacy with Bonfiglio in the lead.
I have seen this show three times now, and each time I’ve seen something new and challenging, but the emphasis has always been on hope. At NJT, Bonfiglio, Schwetye, and the creative team have constructed an elegantly staged, dare I say brilliant production. It does contain difficult subject matter, including depression and suicide, but it is handled with great sensitivity and poignancy. It’s a superb showcase for an excellent and beloved local performer. It’s a brilliant thing, indeed.
Will Bonfiglio Photo by Jon Gitchoff New Jewish Theatre
The New Jewish Theatre is presenting Every Brilliant Thing at the J’s Wool Studio Theatre until April 2, 2023
The Muny is back, with a familiar show, a familiar cast, and a familiar “Razzle Dazzle”, as Chicago takes the stage for an encore run after having been cut short last year due to a COVID-19 outbreak. This year, it’s the same amazing show that took the Muny stage by storm last season, and won Outstanding Production of a Musical and six other awards from my colleagues and myself in the St. Louis Theater Circle. All the principal performers are back, along with the same production design and dazzling staging.
Sarah Bowden, James T. Lane (center) and Cast of Chicago Photo by Phillip Hamer The Muny
I raved about the show last season–and you can read that review here. I will add that it’s just as energetic, jazzy, and exciting as it was last season, led by truly dynamic performances from Sarah Bowden as Roxie Hart and J. Harrison Ghee as Velma Kelly. All the other leads are excellent, as well, including James T. Lane as Billy Flynn, Emily Skinner as Matron “Mama” Morton, Adam Heller as Amos Hart, and Ali Ewoldt as Mary Sunshine. It’s a truly stunning show, from production values to casting, including the brilliant ensemble supporting the first-rate leads. Everything I wrote last year is still true, and if you weren’t able to see the show last year, now is your chance. Go see it while you can. It’s a thoroughly entertaining,, jazzy, satirical, funny, musical treat!
Sarah Bowden, J. Harrison Ghee Photo by Phillip Hamer The Muny
The Muny is presenting Chicago in Forest Park until June 19th, 2022
Art by Yasmina Reza With Adaptation by Christopher Hampton Directed by Gary F. Bell Stray Dog Theatre August 6, 2021
Ben Ritchie, Stephen Peirick, Jeremy Goldmeier Photo by John Lamb Stray Dog Theatre
In a time of increasing uncertainty and efforts to return to live theatre (both outside and inside), Stray Dog Theatre has adapted its usual performance setting in presenting a play that explores not only the subjective nature of art, but also the need for, and definitions of, friendship and personal relationships. Yesmina Reza’s Art (adapted by Christopher Hampton) is an incisive, occasionally witty, occasionally caustic character study of a comedy, looking not only at these issues but also exploring the influence of outside relationships on an individual’s personality view of oneself. At SDT, this somewhat talky play is given a great deal of energy by its excellent cast of three.
The story here is presented in an intriguing format, as the events play out in a mostly linear fashion, while the three characters take turns narrating and sharing their personal thoughts with the audience. It begins as Marc (Stephen Peirick) recounts a visit to his friend Serge (Ben Ritchie), as Serge eagerly shows off his new “find” for his modern art collection–a painting by a celebrated artist. Marc’s reaction is not exactly pleasant, as he takes offense at his friend’s purchase of a basically white painting. Serge doesn’t take Marc’s reaction well, and Marc takes his case to their mutual friend Yvan (Jeremy Goldmeier), who is dealing with his own personal issues and just wants everyone to be happy. Yvan later visits with Serge and hears his side of the story. That’s just the beginning, as the initial conflict brings out–and reveals–more conflicts, between the three friends as well as with their romantic partners, family members, and more.
This play is a lot more character-focused than plot-focused, giving the cast members excellent situations for expression, both dramatically and in a comedic sense. The comedy is somewhat caustic and biting, as well as ironic at times, and the characters can be hard to like at times (especially the domineering Marc). As such a character-centric work, it’s an ideal showcase for the actors, and all three performers shine here. Ritchie’s pretentious, particular Serge; Peirick’s selfish, control-focused Marc; and Goldmeier’s overwhelmed, would-be mediator Yvan are all strong characterizations, with Goldmeier standing out especially in a well-realized, at once humorous and sympathetic portrayal. The interplay between all three actors is a particular highlight, as well, with each gaining energy from the others and feeding the increasingly frantic progression of the proceedings.
Technically, the show does well in its new outdoor space, on the lawn next to SDT’s usual venue, the Tower Grove Abbey. A stage has been set up with folding chairs for the audience, with a good view of the minimal but effective set by Josh Smith, which is put to excellent use by director Gary F. Bell and the cast. There’s also impressive lighting by Tyler Duenow, as well as character-appropriate costumes by Bell. It all works well in an outdoor setting, in terms of being able to see and hear everything.
Art is a show with a whole lot of talking and not a lot of plot, but with fully-realized characters who provide all the focus for the comedy and the drama. It’s a thought-provoking exploration of relationships, thoughts and feelings, along with an exploration of the subjective nature of art. At Stray Dog Theatre, it sets the stage for some especially strong performances, and serves as a welcome return for this theatre company.
Stephen Peirick, Ben Ritchie Photo by John Lamb Stray Dog Theatre
Stray Dog Theatre is presenting Art outside at the Tower Grove Abbey until August 21, 2021
The Sound of Music Music by Richard Rodgers, Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse Directed by Matt Kunkel Choreographed by Beth Crandall The Muny August 3, 2021
Kate Rockwell, Michael Hayden, Jenny Powers, and the Von Trapp Children Photo: The Muny
The hills are alive, and so are the trees, the stage, the scenery, the lights, and the video in the Muny’s latest production of the classic Rodgers and Hammerstein musical, The Sound of Music. Although there is a strong cast here, for the most part, and the audience loved every minute, what shines here especially is the technical artistry, as well as the integration of the setting with the Muny’s natural environment in Forest Park, with the return of the live trees on stage. The classic songs and characters are here, as well, but what’s especially stunning is the sheer spectacle.
This is a show that the Muny has produced many times, although it’s only the second time I’ve seen it here, even though I’ve seen several other productions in various other venues. Here, it’s the familiar show with all the iconic characters and 1930’s Austrian setting, although a few little tweaks have been made. First, when aspiring nun Maria (Kate Rockwell) is first seen, she’s given a bit of a “Julie Andrews moment” in a nod to the famous film by way of this production’s eliminating the usual nuns’ prelude and Maria’s introduction to the title song. The first words we hear are “the hills are alive”, just like the film. Maria also gets a striking entrance standing on a stump that rises out of the stage, as Rockwell is flanked by those lovely trees as well as some stunning projections by video designer Caite Hevner, whose work is one of the true highlights of this production. We then follow Maria, who is having trouble fitting into convent life, as the wise Mother Abbess (Bryonha Maria Parham) sends her to test her calling by serving as a governess to the widowed Captain George von Trapp (Michael Hayden) and his seven neglected children, (Elizabeth Teeter, Victor De Paula Rocha, Amelie Lock, Parker Dzuba, Jillian Depke, Abby Hogan, and Kate Scarlett Kappel). Maria’s initial idea is to help the children prepare for a new stepmother, as the Captain has been courting wealthy widow Elsa Schraeder (Jenny Powers), but as most of us know, things don’t quite turn out to plan, for Maria, for the Captain and the children, or for Austria itself, as the brutal, menacing Nazi regime is poised to take over the country.
The cast here is good, with some particular standouts, like Teeter in an especially thoughtful turn as eldest Von Trapp daughter Liesl, John Scherer as the enterprising concert promoter Max Detweiler, and, especially, Parham as the Mother Abbess, who not only displays a strong sense of wisdom and compassionate authority, but also a fantastic voice on songs like “My Favorite Things” and the iconic “Climb Ev’ry Mountain”. Rockwell is a spunky Maria, and Hayden takes a while to find his energy, but eventually gives a thoughtful, memorable performance as the Captain, especially shining in his moments with Rockwell and the children. Other standouts include Depke as the observant young Brigitta, and Kappel in a spirited performance as youngest daughter Gretel. The children as a group show a strong sense of family connection. Powers also gives a strong, if somewhat subdued, performance as Maria’s romantic rival Elsa.
The staging is clever, with a colorful set by Paige Hathaway and excellent use of the Muny’s turntable in conjunction with the scenic and video design. There’s a particularly stunning moment in Act 2 during the wedding in which set, video projections, staging, and Shelby Loera’s superb lighting design come together to awe-inspiring, almost cinematic effect. There are also excellent period-specific costumes by Tristan Raines. In fact, the production is nearly flawless from a technical standpoint, aside from a few obvious and distracting wigs. Also worth noting is the melodious Muny Orchestra led by music director Ben Whitely.
Overall, The Sound of Musicat the Muny is an entertaining, fully realized experience that makes the most of its venue. If you love this show, I imagine you’ll enjoy this production. It’s a well-staged production that truly makes its location one of the stars of the show.
Kate Rockwell, Bryonha Marie Parham Photo: The Muny
The Muny is presenting The Sound of Music in Forest Park until August 9, 2021
A Late Summer Night’s Stroll Conceived and Curated by The St. Louis Shakespeare Festival Tom Ridgely, Producing Artistic Director In Partnership with PaintedBlack STL Javyn Solomon, Co-Founder, Charlie Tatum, Coordinator
August 14, 2020
Logo: St. Louis Shakespeare Festival
The St. Louis Shakespeare Festival is making me especially happy at the moment, since they are helping to usher in the return of something I’ve missed terribly the past few months–live theatre! That’s live theatre in a somewhat limited way, with some serious restrictions due to COVID-19, but it’s still theatre, and it’s still live and in person. In lieu of the usual mainstage production in Forest Park, the newly renamed festival, led by Artistic Director Tom Ridgely, has partnered with PaintedBlack STL to present a production that utilizes one of St. Louis’s most prominent assets, Forest Park, to showcase the arts–visual and performing–in a fun, whimsical way that also serves as a showcase for several other local theatre companies and arts organizations, like SATE Ensemble Theatre, The Black Rep, The Big Muddy Dance Company, Jazz St. Louis, and more.
Based on Shakespeare’s A Midsummer Night’s Dream, the roughly mile-long, 60-90 minute “stroll” is a (mostly) self-guided walk that starts in the Festival’s “Shakespeare Glen” and follows a meandering path through the park, ending at the foot of Art Hill in front of the park’s picturesque Grand Basin. The path is marked by a series of beautifully painted arches, painted by Jessie Donovan, Eugenia Alexander, Nicholas Lawery, Tiélere Cheatem, Kyla Hawkins, Sherelle Speed, Brilynn Asia, Tyler Harris, Ryean Clark, N’Dea ‘Ori Tala’ Collins-Whitfield, Taylor Deed, Lashawnda Smith, Brock Seals and Dee Drenning. Each arch is unique and marks the performance space for the various presentations from the different theatre, music, and dance companies. These performances range from the more straightforward, such as Shakespeare Squadron’s introductory scene, to the more abstract, such as dances from The Big Muddy Dance Company and (traveling from one arch to another) Consuming Kinetics Dance Company. Most of the theatrical offerings are broadly comic, with memorable interpretations from Circus Flora/Ten Directions (featuring Lynn Berg and Audrey Crabtree), the Black Rep (featuring Brian McKinley and Christina Yancy), SATE (featuring Rachel Tibbetts, Ellie Schwetye, and a stuffed Ninja Turtle), and STLSF’s finale featuring Brittney Henry, Mary Heyl, Carl Overly Jr., and Michael Tran. Especially notable are performer Laura Coppinger and a special guest (you’ll have to see for yourself) performing as Titania serenading Bottom, who has been transformed into a donkey. The walk also features a fun presentation by Improv Shop (featuring Mo Burns), and memorable musical performances by Jazz St. Louis (featuring Benjamin Paille, Kendrick Smith, Bernard Taylor, and Micah Walker) and the Preparatory Program of the Community Music School of Webster University (featuring Ruth Christopher). It’s somewhat helpful if you are familiar with A Midsummer Night’s Dream, but the energy and enthusiasm of the performers, as well as the unique format of the walk, make for an entertaining evening regardless.
While I’ve enjoyed several of the free online offerings by the Muny, Stray Dog Theatre, and other local companies, and I encourage theatre fans to support artists in this difficult time, there’s nothing like the experience of live theatre. It’s a unique art form, and I’ve missed it. While I’m expecting that a more widespread return of live productions will still be a few months away (at the soonest), I appreciate opportunities like this one from the St. Louis Shakespeare Festival to see, hear, interact, and experience the performing arts in person. A Late Summer Night’s Stroll is a clever, inventive, and thoroughly enjoyable endeavor makes the most of its setting and a host of talent and ingenuity. So, wear your sunscreen, bring your bug spray, put on your walking shoes, and give this “stroll” a try. It’s a lot of fun, and an excellent celebration of the arts in St. Louis.
Photo by Phillip Hamer St. Louis Shakespeare Festival
The St. Louis Shakespeare Festival is presenting A Late Summer Evening’s Stroll in Forest Park until September 6, 2020
Love, Linda
Music and Lyrics by Cole Porter
Book by Stevie Holland, with Gary William Friedman
Arrangements and Additional Music by Gary William Friedman
Directed by Ken Page
Max & Louie Productions
January 19. 2019
The latest show from Max & Louie Productions is essentially a showcase for its leading performer. Debby Lennon, who has memorably appeared in previous shows from the company, is cast as the wife of legendary songwriter Cole Porter in a slight but entertaining production that especially highlights Lennon’s always impressive vocal talents and stage presence.
This is really more of a narrated concert than a play, co-written by a jazz singer and the show’s original performer. This is a show that, basically, gives a talented singer a chance to shine, showcasing the classic hits of one of Broadway’s most legendary songwriters. Lennon portrays Linda Lee Thomas, who was married to Porter for 34 years. She tells the story of her life before she met Porter, including her marriage to her abusive first husband, but the bulk of the production focuses on her complicated relationship with her second husband, Porter. Their love and mutual dependence on one another–in different ways–is made clear, as is the truth that Linda married him in full knowledge that he was gay. In between songs, Lennon tells vivid stories of her life with Porter in Paris in the 1920s, and then in New York, and eventually, Hollywood, as she outlines Porter’s rise to fame, their celebrity connections, and Porter’s many relationships with men and her struggles with jealousy. It’s an interesting story, compellingly portrayed by Lennon, but it’s all essentially a framework for the songs, which are the show’s–and Lennon’s–strength. Many well-known and lesser-known Porter songs are featured, allowing Lennon to show off a different style of vocals than usual. Her past efforts for Max & Louie have tended to more operatic sounds, but here Lennon is able to display an impressive aptitude for old-school jazz and pop standards. She especially excels in the more upbeat songs, like “Miss Otis Regrets” and “I Love Paris”, as well as displaying an impressive range on numbers like “Wunderbar” and “So In Love”. It’s an impressive vocal performance, and acting-wise, Lennon does about as much with the material as I could imagine anyone could. She’s a strong presence on the stage.
Aside from Lennon, the other real “stars” of this show are the technical designers. This is a great looking show, from Dansi Dai’s simple but lavish set that stages the performance on a giant, well-appointed piano. The storytelling is also augmented greatly through the use of Michael Perkins’s excellent projections, that illustrate Linda’s story from the beginning–with photos of the real Linda–to the end. Costume designer Teresa Doggett has outfitted Lennon in some elegant, well-suited ensembles as well. There’s also excellent atmospheric lighting by Patrick Huber and sound by Phillip Evans. Lennon is also backed by an excellent band led by music director Greg Schweitzer.
The story that Lennon, as Linda, tells here is a potentially fascinating one, and there could be a more thorough treatment than this one. Still, as it is, Love, Linda is an entertaining show, especially when it comes to the production values and, especially, the music. It gives its talented star an excellent outlet for displaying her impressive vocal skills, highlights the repertoire of a Broadway legend, and provides a look at the complex, sometimes difficult, sometimes poignant life of the woman who married that legend. It’s great music well-sung, and with style.
Debby Lennon Photo by Dunsi Dai Max & Louie Productions
Max & Louie Productions is presenting Love, Linda at the Marcelle Theatre until January 27, 2019
Doctor Faustus, or The Modern Prometheus
by John Wolbers… and Kit Marlowe
Directed by Ellie Schwetye
SATE Ensemble Theatre
November 8, 2018
Joe Hanrahan, Ashley Bauman, Talessha Caturah, Nicole Angeli Photo by Joey Rumpell SATE Ensemble Theatre
There’s a whole lot of “Faust” happening in St. Louis this year. The collaborative FAUSTival is continuing this month, and now it’s SATE’s turn to offer their own approach to this legendary tale. This is the fourth entry in the series, and if you thought you might start feeling a little bit of “Faust” fatigue by this point, there’s no need to worry, as SATE’s take on the oft-told tale is bold, fresh, challenging, and thoroughly compelling.
With this production, playwright John Wolbers takes Christopher (Kit) Marlowe’s version of the story and significantly tweaks it to give it a modern spin. The title character is now a woman (Ashley Baumann), and although the play is still in verse and uses Early Modern English and Elizabethan-inspired costumes for the most part, the setting is modern, with present-day cultural references included, and modern issues–or actually, age-old issues in the context of how they have manifested in modern times. The story emphasizes the temptation of Faustus and her relationships with those close to her, especially her college boyfriend Wagner (Michael Pierce) and roommate Val (Lex Ronan), as well as her business role model and mentor Carol Hapsburg (Taleesha Caturah). There’s also the various incarnations of Mephistophilis, the demon who is supposed to serve her after she makes a pact with the devil. Mephistophilis is played in turn by almost all of the remaining cast members in the show, with the exception of Nicole Angeli, who plays “The Seven”, a personification of the Seven Deadly Sins, which play a major role in Faustus’s journey of temptation and ascent to power. The play incisively deals with important issues such as the struggles for equality of women in academia and business, as well as sexual harassment, the corruption of power, and more.
Although it takes a few minutes to really get going, it soon becomes a riveting drama, with impressive performances all around. Bauman’s Faustus goes on a credible emotional journey, and her initial idealism and growing sense of ambition are well portrayed. There’s strong chemistry between her and Pierce as the devoted but eventually disillusioned Wagner and also with Ronan as her close friend, the also idealistic and magically curious Val. Ronan is also strong in her role as legendary mythological Helen of Troy and one of the incarnations of Mephistophilis. There’s also a strong performances from Caturah in three roles, including the original version of the crafty Mephistophilis, as well as the authoritavie Hapsburg and, in a memorable scene, as an elderly lady who makes an impression on Faustus. Joe Hanrahan, as a smarmy college professor and the second Mephistophilus, and Erik Kuhn and Kareem Deanes in multiple roles are also excellent. Special mention needs to go to Angeli, who deftly shifts back and forth between seven distinct personalities as The Seven. It’s a dynamic, impressive, chilling, and thoroughly memorable performance that stands out in an already excellent ensemble.
The technical aspects of this show don’t fail to impress, either. Bess Moynihan’s set is distinctive, as a series of seven columns–decorated to represent the Deadly Sins–serve as an effective backdrop for the action. The lighting design by Dominick Ehling coordinates well with the set and with the acting in a clever way that I won’t spoil here, but will make itself apparent as the story plays out. There’s also excellent use of sound, designed by Kareem Deanes, and vividly realized modern-Elizabethan fusion-style costumes by Liz Henning.
This is a Doctor Faustus for the ages, both ancient and modern, employing some modern sensibilities to communicate timeless truths about the human condition, ambition, and temptation as well as the importance of empathy and compassion. It’s another excellent FAUSTival presentation, serving also in various ways to point out the common themes the various productions have had, beyond the fact that they’re all about Faust in their own unique ways. In this production, SATE continues to challenge, impress, and provoke much thought. It’s another strong production from this excellent company.
Cast of Doctor Faustus Photo by Anne Genovese SATE Ensemble Theatre
SATE Ensemble Theatre is presenting Doctor Faustus, or The Modern Prometheus at The Chapel until November 17, 2018
The St. Lou Fringe festival has come to Grand Center again, featuring two headline acts–one national and one local–and a variety of performances by an array of different local and national artists. It’s a celebration of the performing arts at their most quirky and inventive–or, at least, it’s supposed to be. I didn’t get to see as many shows this year as I would have liked, but what I did see was something of a mixed bag in terms of quality, ranging from top-notch shows, to shows that need work. Here are my reviews:
The Gringo (Local Headliner)
Music, Lyrics, and Book by Colin Healy
Directed by Colin Healy
Cast of The Gringo Photo by Bob Crowe St. Lou Fringe
The first show I saw at this year’s Fringe is a show that embodies a lot of the qualities that I have come to expect in a Fringe show–challeging, thought-provoking, timely, and inventive. It’s not a perfect show, but there’s definitely promise there, and the music and cast are excellent. Written entirely by local artist Colin Healy but taking place in Miami, the show is certainly distinctive, even though the sound balance and odd acoustics in the .Zack made it difficult to understand at least half of the lyrics. Still, there’s a story here, and some great characters, even if there are too many and some of their situations and relationships are difficult to figure out.
The Gringo is also somewhat of a baffling title, since it references a character who isn’t (and shouldn’t be) the focus of the show, and whose role in the show is confusing to say the least. Ishmael (Riley Dunn), who is white, is a wandering street artist whose wanderings have taken him to a mostly non-white neighborhood in Miami. I sort of get the initial focus on him in terms of portraying how often artists of color are ignored in favor of white artists trying to be “edgy” and getting celebrated as such, but still, the real focus of the show is (and should be) Kahlo (Alcia Reve Like), a famous artist who laments being treated as a curiosity at best by white tourists. The story takes place in the aftermath of the killing of local artist El Fantasma by police, and it follows the reactions of various people who were close to him, such as his brother Diego (Gheremi Clay), who is something of a “friends with benefits” type relationship with Kahlo, although Kahlo, along with Ishmael, decide to navigate the unpredictable world of online dating, which is how the two artists meet and form a tentative relationship, which further alienates Diego, who is wary of Ishmael but also gives him his nickname, “The Gringo”. As white “internet celebrities” such as @Sally7777777 (Janine Norman) discover Ishmael’s work and plaster it all over Instagram in a self-congratulatory “look what I discovered” sort of way, the rest of the neighborhood prepares to memoralize El Fantasma, Diego searches for answers and validation, and the somewhat mysterious Manni (Robert Crenshaw) occasionally appears expressing his animosity for The Gringo. There’s also popular drug dealer Molto (Omega Jones) and Kahlo’s friend Reya (Evann De-Bose), who have a tragic subplot of their own. The characters’ relationships and motivations are muddled, to say the least, and there are simply too many plots to follow coherently. I think keeping the main focus on Kahlo’s and Diego’s situations would make the most sense, and while Ishmael has his moments, he seems mostly irrelevant by the time the story draws to a close.
There are some great performances here, especially from Like, Clay, Jones, and Norman, and the songs are clever and memorable, at least from what I could hear of them. The look of the show is striking, with an eye-catching set (designer not credited in the program), art by Tielere Cheatem, and distinctive costumes by Carly Uding. The band conducted by Healy is excellent as well, as is the energetic choreography by Christopher Page-Sanders. The sound mix is uneven, though, and the story is incomprehensible at times because the lyrics of the songs were often drowned out by the band. This is a show with definite promise, if Healy could streamline it some and make a clearer focus on the more compelling characters and define the relationships and character motives more clearly. Overall, it’s an impressive debut, even though it still needs some work.
Race Cars and Romance (National Headliner)
Book by Klay Rogers, Music by Brent Rogers, Lyrics by Klay Rogers and Brent Rogers
Directed and Choreographed by Brandon Bieber
Even though it’s not a perfect show, The Gringo has a lot of potential and fares much better than Fringe’s national headline act, Race Cars and Romance, which is, frankly stated, a mess. Staged with much fanfare at the Grandel, this show just leaves me asking “why?’ on so many levels. Billed as a “family friendly musical”, it’s basically just a big collection of stereotypes, shallow characters, poor plot structuring, and a plot that’s so episodic it almost comes across as more of an anthology than a play–and not a very good anthology at that. I will say to start, though, that the performance I saw was a preview, and I hope the overall energy improved in the subsequent performances, but in terms of characters and structure, I don’t see how seeing one of the “official” performances would have mattered.
The focus is on an oil change shop in a small Alabama town, in which a collection of characters work, including new “star” mechanic Roni (Emily Trumble), who grew up in the town but spent some time working on the racing team of star stock car racer Chuck Champion, who is talked about a lot but never actually appears on stage. Another stock car racer and childhood friend of Roni’s, the clueless and somewhat vain Johnny Ray Ratchet (Ralph Meitzler), has been struggling on the racing circuit and is due to race at Talladega starting in last position, and needs his car fixed in preparation for the race. He brings it to the oil change, meets Roni, and… well, that’s all for a really long time while the play takes a break from their story to tell a lot of other stories that are only peripherally related to the main plot. It’s odd how much this plot is treated like an afterthought even though it’s supposed to be the lead story, as all the other characters are given their moments but not in a way that contributes much to the main story arc. We just get a lot of cliches and stereotypes, with some interesting characters but mostly a lot of filler, and excuses for songs that don’t advance the plot. There are some good performances here, especially from the big-voiced Trumble as Roni and Rachel Bailey as Roni’s friend, the romantically adventurous Louraine, who has a sweet but somewhat confusing romance with sweet-natured mechanic Pedro (Fredy Ruiz). Meitzler is fine as Johnny Ray, even though his character doesn’t have much to do beyond bragging about his racing prowess and inexplicably changing his mind a lot. The chemistry between the two leads is OK but not great, and there are some interesting songs but only one that really stands out–the plaintive duet “Lonely Lovers Game” for Johnny Ray and Roni, but the song is in the wrong place in the show, and it doesn’t do much to save the convoluted, implausible romance that doesn’t make a lot of sense in the long run. The cast does the best they can with what they are given, but they aren’t given much.
Techically, the show looks good, with a colorful set and costumes (production design credit is given to Klay Rogers). Still, as it is this is little more than a theme park show, and I’ve seen better shows at theme parks. Creator Klay Rogers gave an introduction before the performance explaining that a lot of the stories here are based on a real job he had at an oil change shop in Texas, but there are too many stories here and for the most part, this doesn’t work as one show. Maybe it would be better if he split the stories up into several different shows.
As a writer who sees myself as a fan more than as a critic, I try my best to be kind even when I don’t like a show, but I find that difficult with a show like this. The cast deserves credit for the effort, but the show itself has little to recommend. I really hope Fringe picks something better to take center stage next year.
Now Playing Third Base For the St. Louis Cardinals… BOND, JAMES BOND
by Joe Hanrahan
Directed by Shane Signorino
The Midnight Company
From the always intriguing Joe Hanrahan comes a delightful show that’s part personal memoir, part history lesson, part nostalgia, and all fascinating. It’s a cleverly constructed one-man show from St. Louis’s king of one-man shows, Hanrahan, who narrates and plays all the characters as needed. It’s a lesson in theatre appreciation as well, along with baseball appreciation and an appreciation for the 1960s-era James Bond films, particularly From Russia With Love.
Telling the story as himself, Hanrahan takes the audience back to his childhood in St. Louis during the storied 1964 World Series-winning season for the St. Louis Cardinals. He weaves the story of that team with reminiscences of his little league practices and what he refers to as his introduction to theatre–a recounting of the plot of the “new” James Bond movie by one of his teammates, Danny. As Hanrahan, playing Danny, tells the story of the movie, Hanrahan as himself gives the audience background information about the film and also stories about that famous Cardinals team, St. Louis in the 1960s as well as the history of theatre, World War II and more. It’s a somewhat difficult show to describe adequately, but what it is is excellent. Hanrahan through use of his great storytelling skills and impressive use of video designed by Michael B. Perkins, holds the audience spellbound for about an hour. It’s a great show, and I hope Hanrahan will get a chance to perform it again in another venue. It’s entertaining, educational, thought-provoking, and an ideal example of the best of what the Fringe can be, along with the last show I’m reviewing.
Aphrodite’s Refugees
Created by Monica Dionysiou, Visual Art by Aaron Young
MonTra Performance
Monica Dionysiou Photo by Bob Crowe St. Lou Fringe
I was looking forward to seeing this show, after seeing and enjoying Dionysiou’s last show at St. Lou Fringe in 2015, the Alice In Wonderland inspired “Paper Glass”. Here, like in that previous show, Dionysiou combines dramatic performance with visual art, but now her story is more personal, taken from her own family’s story, and she’s joined by Aaron Young, who paints a picture during the performance, illustrating and augmenting Dionysiou’s narrated tale.
Dionysiou tells the story, weaving with legends of the Greek goddess Aphrodite playing a card game with Ares, the God of War. In between these segments, she narrates the story of her family on the island of Cyprus. The main figure in this story is Dionysiou’s father, George, called “Koko”, portrayed by Dionysiou along with his sisters Eleftheria and Andrula, and his brother Dionysus. Through personal recollections, they tell the story of the family throughout various conflicts involving the continuing conflicts between the Greek (represented by the Dionysious) and Turkish populations of Cyprus. It’s a compelling story, based on Dionysiou’s interviews with her family, and her portrayals of all the characters, particularly the determined Koko and the mischievous Andrula, are convincing and impressive. She also makes excellent use of sound effects for the “card game” sequence as Young impressively recounts the story with his painting, including elements of movement that add to the story and the overall drama. It’s a fascinating story, and another ideal example of the excellence and inventiveness that should be celebrated by Fringe. I’ve been extremely impressed by both of Dionysiou’s shows that she has done here, and I hope to see her at a future Fringe as well.
The How and the Why
by Sarah Treem
Directed by Nancy Bell
New Jewish Theatre
January 25, 2018
Sophia Brown, Amy Loui Photo by Eric Woolsey New Jewish Theatre
The How and the Why, the newest production from the New Jewish Theatre, is a story about relationships, about science, and about women. A one-act, two-woman show, Sarah Treem’s play is a strong showcase for two excellent local performers. It’s also an in-depth look at life through the eyes of two women at different stages of life who are inextricably tied to one another in more ways than one.
As the story begins, award-winning evolutionary biologist Zelda Kahn (Amy Loui) sits in her office, alone, but she’s not alone for long. Soon, young graduate student Rachel Hardeman (Sophia Brown) arrives, and it appears that this may be a student-teacher meeting, but it’s more than that, as is evidenced by the obvious mixture of curiosity and awkwardness upon their initial meeting. Rachel has submitted a paper for presentation at a major conference of which Zelda is on the board, but that’s just the beginning. Through the course of the production, the two women gradually get to know one another, and we the audience learn about them in the process. That’s the basic premise, but a lot of ground is covered here in terms of establishing this relationship and revealing the differences and similarities between these two women at two different stages of their lives and careers. The playwright does a good job of making this situation credible, even though some of the plot may seem implausible. The play covers issues of science, family relationships, love and romance, dependence and independence, personal and professional priorities, goals and compromises, and more. It’s a somewhat sweeping range of subject matter made personal through these two well-drawn characters and their building relationship.
The characters are the story here, in a major sense, so ideal casting is essential. The performers here are both remarkable, not only convincing as individuals but also believably conveying an initially awkward but obviously important, growing relationship as these two women try to figure out how to relate to each other, as well as working out important choices in their own lives. Loui convinces as the older, sometimes wiser but sometimes regretful Zelda, projecting an air of confidence along with a real sense of vulnerability. She is well-matched by Brown, who gives a determined, earnest, occasionally angry and equally vulnerable portrayal of Rachel. This is a compelling story, but it’s made all the more real by the sensitive, strong performances of its leads.
Technically, the show is also impressive. Peter and Margery Spack’s two-sided set represents Zelda’s well-appointed office and then, later, a turntable revolves to reveal an equally detailed dive bar set. The whole set is also surrounded by representations of planets, shimmering and illuminated by Michael Sullivan’s excellent lighting. The costumes by Felia Davenport suit the characters appropriately, as well.
This production is notable in that it’s so focused on women. The playwright, the stars, the director and several of the designers are women, and a major focus of the story is the experience of what it’s like to be a woman in a traditionally male-dominated field, examining issues of science that are particularly centered around women. It’s also about an intriguing, thoroughly believable relationship, and as the title suggests, the “hows” and “whys” of life. It’s a fascinating story, thoughtfully staged at New Jewish Theatre.
Amy Loui, Sophia Brown Photo by Eric Woolsey New Jewish Theatre
The New Jewish Theatre is presenting The How and The Why the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until February 11, 2018
Faceless
by Selina Fillinger
Directed by BJ Jones
Repertory Theatre of St. Louis, Studio
January 12, 2018
Michael James Reed, Susaan Jamshidi, Lindsay Stock, Ross Lehman Photo by Jerry Naunheim, Jr. Joe Dempsey, Lindsay Stock Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis
The latest Studio production at the Rep, Faceless, couldn’t be more timely if it tried. It’s one of those stories that’s so plausible, it may as well be based on reality, even though it’s a fictional tale. Tackling many issues that are at the forefront of the modern political and social conversation, this play is challenging, affecting, and impeccably cast.
Delving into the worlds of religion, politics, the war on terror, and social media, this story follows the trial of a Chicago teenager, Susie Glenn (Lindsay Stock), who was arrested for conspiring with terrorists after attempting to travel overseas to join an ISIS-involved soldier with whom she has only interacted online, even though she intends to marry him and has converted to Islam under his influence. The story starts with lead prosecutor Scott Bader (Michael James Reed) recruiting Harvard-educated attorney Claire Fathi (Susaan Jamshidi), the American-born Muslim daughter of French and Iranian immigrants, to assist him on the case. It’s a high profile case, and Claire knows exactly why the politically aspirational Scott wants her there, and after some resistance she agrees to join the team. Defending Susie is Mark Arenberg (Ross Lehman), with an excellent reputation who is brought in by her widowed father Alan (Joe Dempsey). The structure is semi-linear, in that the story generally moves forward, but there are also frequent flashback sequences showing how Susie, whose police officer mother was killed in the line of duty about a year previously, came to be involved with “Reza” online, showing texts and tweets projected on a screen, as “Reza” remains shrouded in mystery–a shadowy figure whose face we never see, and whose voice is given a ghostly echoing quality. The story explores the development of the case from various sides, the preparation of the legal teams as well as the personal stories of Susie and Claire, gradually narrowing focus to the developing relationship between these two characters, as Claire learns about Susie through the case, initially dismissing her as “Muslim Barbie”. As the trial continues, Clarie is forced to look more closely at Susie, and what has brought her to this point, as well as confronting issues in her own personal life and family relationships. The play covers many issues in addition to the main idea, from exploration of some aspects of online culture, to teenage alienation, to press sensationalism, to religious differences between the two Muslim characters, Mark who is Jewish, Alan who is an atheist, and Scott whose background is left more nebulous but who isn’t above using Claire’s religious background as an angle to get publicity for the case. There’s also an insightful exploraton of grief and father-daughter relationships. There are a lot of issues here, from the obvious to the less apparent, and the nuanced script is incisive, thought-provoking, and challenging. Many questions are raised, but not all of them are answered, and that lends an extra air of authenticity to the production.
The characters here are complex and richly drawn, and extremely well-cast. Everyone is excellent, with the focus being largely on Jamshidi’s confident, vulnerable portrayal of Claire and Stock’s alternately defiant, grieving, lonely, and impressionable Susie. There are also strong moments for Dempsey as Susie’s also grieving father, the always strong Reed as the somewhat cocky Scott, and Lehman as the thorough, thoughtful Mark. The trial preparations and the courtroom scenes themselves can be riveting and dramatic, but there are also some quietly chilling moments as Susie’s backstory plays out. The excellent set by John Culbert, the evocative lighting by Heather Gilbert and sound by Andre Pluess, and the superb projections designed by Stephan Mazurek, showing Susie’s texts and tweets and texts to her shadowy “fiance”, add to the chilling drama. This is a show in which the technical aspects augment the performances in a critical way to help convey the overall feeling of the story.
The play is supsenseful, timely, smartly paced and impressively staged by director BJ Jones and the cast. This isn’t a very long play, but a lot goes on in its approximately 90 minute running time. It’s not a true story, but the way it’s portrayed here, it’s easy to see how this could happen. There’s a lot to think about here in terms of politics, religion, family relationships, and more. It may be called Faceless, but a major part of this play’s effectiveness is the fact that it gives these issues a face. It personalizes issues that can easily be thought of in the abstract. Here, the drama is real, it’s intense, and it’s well worth seeing.
Joe Dempsey, Lindsay Stock Photo by Jerry Naunheim, Jr. Repertory Theatre of St. Louis
